Oh, right.

And, uh, he was a, he was at university with Chris, and, uh, uh, obviously they, they did Following together.

You know, as probably people know, it was shot on weekends.

And, um, and I remember speaking to him when he was sort of introducing himself to me, I think we were talking on the phone, and he was saying, "Oh, I've got..." Uh, uh, I'd said, I think I'd dropped into conversation I was going to the Edinburgh Film Festival that particular summer, and he said, "Oh, I've got a film that's playing there." And he talked about Following.

Of course, I'd not heard of it or heard of Christopher Nolan.

And then, uh, you know, not long after that, I think I interviewed Chris and, you know, he already had Memento in his back pocket basically.

I mean, what a, what a script to have your sort of, your, your, your big American...

Um, were you, uh, expecting that?

Mm-hmm

... things like the Trojan horse, they had to approach that really early.

They just wanted to get that right.

Um, so yeah, so I always started with a production designer and then, although actually technically [clears throat] that's true, actually technically speaking that's not true because I just remembered just because when I was setting interviews up, um, s- all of a sudden the casting director, uh, was available, so actually I did do him first.

Now I say [laughs] I say that but, um, that was be- you know, it, that was kind of, I thought that would be okay to start with in the sense that, um, uh, you can, I, I knew who was playing which role so you could basically just go through each actor and say, "Well, what led to them being cast?" So I thought, "Okay, I can get away with that one, um, to start with," but really Ruth was the proper starting point because that's where you're learning I suppose the earliest points of the film, you know, the design points of how they're, how they approached it, what locations they were gonna shoot in.

All of that was in the early conversations.

And then it's a case of just who you get and you, when you get them and you just kinda start going through a barrage of people and then you're really building up to, to interviewing Chris himself which obviously comes a lot later partly because he's extremely busy.

Not necessarily Christopher Nolan

Mm-hmm.

And of course, they were all locked down in this hotel, and I think he'd just arrived, so I'm not even sure if he'd shot anything when I spoke to him of Dominion, but we, we weren't there specifically to talk about that, although we did a little, but more about his, you know, his entire- Lifespan with, with Alan Grant, basically.

And that was, that was obviously a fantastic interview.

You know, he was so generous and that and gave me so much.

And, and, you know, as I'm sure you've gathered from anything you've seen of him, he's incredibly modest about the success he's had-

[laughs]

In case I, in case I got that completely wrong.

But yeah, I remember the publicist saying, "Oh, Jeff loves the press," and, like, you never hear that.

Yeah.

It's n- it's not particularly subtle work from Kerr.

But I thought there, it, there were moments that at least allowed the characters to breathe.

Again, with the family, uh, on, on the yacht, you know, the fact that the, this boyfriend has tagged along and he's kind of annoying.

And, you know, the, the father's obviously trying to i- impress his daughter I suppose on, on, his teenage daughter, or at least placate her on some level.

I thought there was kind of enough character development there.

I didn't find it too slow.

Mm-hmm.